Shakespeare's Party People

Rowdy guys drinking are at the center of many modern comedies, but as you’ll see in Twelfth Night, over-indulgence has been funny for 400 years.

At one point or another, most people have been exasperated by drunken neighbors or housemates, whose voices and music were way too loud.

What to do?

Some politely ask them to keep it down. Others match their obnoxious volume with a blast of obscenities.

The exact same thing happened in William Shakespeare’s day, and in Twelfth Night, the party people are Sir Andrew Augecheek and Sir Toby Belch. Don’t let their noble titles fool you, they are as rowdy as a pair of frat boys.

Playing Augecheek is Public Theater veteran Daniel Krell, who earlier this season appeared as Bellomy in The Fantasticks. Returning as Belch is the wonderful John Ahlin, who brought down the house as Bottom in Ted Pappas’ production of A Midsummer Night’s Dream.

Some of the funniest scenes in Twelfth Night feature this terrible twosome and the tongue-lashings they receive for their “ill hours.” Says not-so-gentlewoman Maria, played by Pittsburgh favorite Helena Ruoti, “You must come in earlier o’ nights. You must confine yourself within the modest limits of order. That quaffing and drinking will undo you.”

But Belch isn’t fazed. “A stoup of wine!... Shall we set about some revels?” he says to Augecheek, a man who loves dancing, bear-baiting and beef-eating.

“Shall we rouse the night-owl in a catch?” Belch continues. A “catch” is the Elizabethan version of a drinking song, sung in a round. The Public’s new production of Twelfth Night will include original music by composer Michael Moricz, the former music director of “Mister Rogers’ Neighborhood.” This will be Mr. Moricz’s fifth Shakespearian collaboration with director Ted Pappas.

While the audience is sure to enjoy Mr. Moricz’s melodies, Countess Olivia’s household does not appreciate it. “What a caterwauling do you keep here!” Maria bellows. Stuffy Malvolio (Brent Harris) is equally harsh: “Have you no wit, manners nor honesty but to gabble like tinkers at this time of night?” he rails.

To this, Belch makes the famous reply: “Doth thou think because thou art virtuous there shall be no more cakes and ale?” he demands. In other words, no one’s disapproval is going to stop their party.

Cakes and ale were popular pleasures during the annual Twelfth Night celebrations, associated with festivity and indulgence. Since Shakespeare first mentioned them in his Twelfth Night, the phrase “cakes and ale” has become emblematic of the good life. The Public’s new production of the play promises to be that treat’s theatrical equivalent.